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2023 Sundance Questionnaire: Editor Responses
Courtesy of Sundance Institute. Each year, Filmmaker sends all Sundance feature film or series editors a questionnaire to complete ahead of their film’s festival screening. We also send out cinematographer questionnaires and a single question for feature directors to answer.
Below, find links to individual editor responses, which will be updated daily during the festival.
“My Techniques Are Intuitive”: Editors Marc Boucrot and Jacqueline Castel on My Animal
“Be Very Conscious About Pruning Unnecessary Branches”: Editor Silvija Vilkaite on Slow
“The Process Is Similar to the One I Go Through When I Direct”: Editor Babak Jalali on Fremont
“The Second Act Is Always a Challenge”: Editor Taryn Gould on Nam June Paik: Moon Is the Oldest TV
“The Complexity of Parenting Adults”: Editor Tricia Holmes on A Little Prayer
“Music Became an Important Voice in the Storytelling”: Editor Beverly Mills on Poacher
“In This Case, Starting at the End Made Sense”: Editor Julian Hart on The Deepest Breath
“We Wanted To Create a Mosaic Film”: Editor Ula Klimek-Piątek on Pianoforte
“A Family Drama and a Whodunnit at the Same Time”: Editor Robert Grigsby Wilson on Fancy Dance
“Nothing Is Wasted in the Process of Documentary Editing”: Editor Jean Rheem on Bad Press
“Post-it Notes Always Are a Huge Help”: Editor Thomas Pooters on When It Melts
“This Is Filmmaking as an Artistic and Cultural Necessity”: Editor Nathan Delannoy on Mami Wata
“A Collaboration of Kindred Expression”: Editor Mark Bukdahl on Twice Colonized
“The World Just Sounded Different 50 Years Ago”: Editors Peter Hagan and Lawrence Klein on Fairyland
“From the First Assembly, I Knew the Film Was There”: Editor Lindsay Armstrong on Young. Wild. Free.
“The Tonal Balance Was a Bit of a Tightrope”: Editor Jacob Craycroft on Cat Person
“I Usually Prefer To Embrace the Rushes as a Whole”: Editor Hoping Chen on Drift
“I Like To Edit Ideas, Not Sequences”: Editor Geraldine Mangenot on Other People’s Children
“I Consider Myself a Sensitive Person”: Editor Carolina Siraqyan on The Eternal Memory
“I Like to Channel Musicality Into the Act of Editing”: Editor Adam Dicterow on Mutt
“The Feeling of Interconnectedness We Share as Humans”: Editor Chris McNabb on Invisible Beauty
“There Was a Lot of Important World Building To Be Done”: Editor Sam Levy on The Starling Girl
“Curiosity and Fear Are Strange Companions”: Editor Stella Heath Keir on Girl
“My Goal Is Always To Move People to Laughter or Tears”: Editor JoAnne Yarrow on The Persian Version
“I Don’t Think I’ve Ever Cried So Much in the Edit”: Editor Michelle Mizner on 20 Days in Mariupol
“A Joyful Film About a Complicated, Well-Lived Life”: Editor Tal Ben-David on Judy Blume Forever
“I Studied Experimental Filmmaking, Not Editing”: Editor Nico Leunen on The Eight Mountains
“Intently Listening to ‘Mmmbop’ on Repeat”: Editor Reynolds Barney on Jamojaya
“Funnier Is Almost Always Better in My Book”: Editor Robert Nassau on Shortcomings
“Rules Are Perhaps the Most Useful Ally in Creativity”: Editor Meredith Perry on PLAN C
“A Narrative That Exposes the Horror of Losing One’s Autonomy”: Editor Taylor Mason on birth/rebirth
“With This Film, It Came Full Circle”: Editor Ron Patane on The Pod Generation
“Emanuele Asked Me to ‘Undertake the Journey’ With Him”: Editor Clelio Benevento on L’Immensità
“A Foray Into the Heart of Different Family Dynamics”: Editor Anouk Deschênes on The Longest Goodbye
“A Rom-com That Knows Exactly What It Is”: Editor Victoria Boydell on Rye Lane
